Renowned for his masterful score in Dying and set to remain a key figure in 2025 with his work on September 5, Lorenz Dangel is celebrated as one of today’s most versatile and dedicated film composers. He creates music that naturally enhances a film’s narrative and emotional depth, carefully tailoring each composition to the unique needs of each project. His commitment to avoiding repetition reflects his drive to continually push the boundaries of film music as an art form. At Filmmagasinet, we had the privilege of discussing Dangel’s creative approach, his thoughts on the balance between sound and storytelling, and the collaborative process behind his most memorable scores.
Born in Würzburg, Germany, in 1977, Lorenz Dangel is an award-winning composer celebrated for his innovative contributions to film, theater, and classical music. With a solid classical foundation, developed through studies at the Hanns Eisler Academy in Berlin, the Munich Academy for Music and Theatre, and the Royal College of Music in London, Dangel has established himself as one of the most dynamic composers of our generation.
Dangel’s career gained momentum with Schläfer (Sleeper, 2005), which earned him the award for Best Music at the Max Ophüls Film Festival. He later received widespread recognition for his work on Hell (2011), which won him the Deutscher Filmpreis for Best Film Music. His score for the post-apocalyptic sci-fi film Tides (2021) also earned him this prestigious honor. Among his notable achievements is the score for What Will People Say (Hva vil folk si, 2017), which he co-composed with Martin Pedersen. A critically acclaimed film, it gained popularity for its poignant storytelling and global appeal, resonating deeply with audiences worldwide. His ability to create music that resonates emotionally and narratively has made him a favorite among directors like Iram Haq, Bille August, and Matthias Glasner. His work on A Fortunate Man (Lykke Per, 2018) and Dying (Sterben, 2024) further highlights his talent for crafting scores that enhance a film’s depth and complexity.
Dangel’s upcoming project, September 5, set to premiere on March 21, 2025, continues this tradition by using music to explore the complex ethical dilemmas surrounding media coverage during moments of crisis. Set against the backdrop of the 1972 Munich Olympics hostage situation, the film delves into the moral challenges faced by journalists and broadcasters, highlighting the media’s monopoly on shaping public perception. Dangel’s compositions don’t just accompany the visuals; they elevate the storytelling, unlocking the full potential of the cinematic experience.
Reinventing Film Music: A Composer’s Vision
Lorenz Dangel describes himself as a composer passionate about both orchestral and film music. For him, it’s about balancing the two and using music’s unique ability to amplify storytelling and emotion — whether on stage or on screen. With a mother who was a musicologist and a father who was a musician and conductor, he grew up surrounded by music. Starting with the piano as his main instrument, he was immersed in classical music from a young age. However, a book about film music inspired him to explore the field more deeply.
When asked about balancing visual storytelling with creating an independent musical voice, he explains:
– There are two types of film composers: One is faithful to their own style, and directors often choose them because they have a recognizable signature. The other type tries to avoid repeating themselves and focuses entirely on responding to the unique needs of each film. I definitely belong to the second group. For me, it’s crucial to start fresh with every project. I like to begin with the script before the film is even shot, allowing me to develop initial musical ideas without being overly influenced by the visuals. This approach is more challenging because I can’t rely on familiar methods or patterns — I have to build everything from scratch. Each film demands a unique process, whether it’s creating music early to use during editing or composing directly in response to the visuals and storytelling during post-production.
To explore this further and use specific examples, I invite Lorenz Dangel to reflect on how he came to use 70s studio sounds in September 5. How did this choice influence the film’s narrative and visual expression?
– The film’s raw, documentary-style aesthetic, with handheld cameras and chaotic TV studio settings, had a big impact on my musical choices, he explains; I avoided exaggerating the intensity of the story, which was already powerful, and instead created a subtle, atmospheric score that supported the narrative without overshadowing it. There are also a lot of background noise in the film — voices, walkie-talkies, and other sounds — which meant the music had to work «under the radar.» This approach added a sense of unease while leaving space for the characters to tell their stories. Inspired by the 70s-style visuals, including the grainy and dusty look, I used analog synthesizers with warm, rich tones to tie the music to the era and enhance the emotional connection to the audience.
When discussing September 5, Dangel delves into the nuanced relationship between music and the film’s political themes. While the story touches on the horrifying hostage situation during the Olympic Games, he emphasizes that the primary focus is on the media’s role and its ethical implications:
– I had to consider whether to incorporate musical elements that directly referenced the Jewish hostages, Dangel explains, but I deliberately decided against it. Not because I lack empathy, but because I didn’t want to rely on clichéd Jewish music tropes. It felt too easy, too reductive, to push that emotional button. The point is that the tragedy is much bigger than this single event. It’s about the failure of the media to provide an ethical and morally sound coverage of what happened.
Instead, he crafted a minimalist piano theme to convey emotional depth without leaning into specific cultural or national motifs. Who am I to write Jewish music, he reflects, It would be inappropriate and even pathetic for me to attempt to imitate something I cannot truly represent.
This thoughtful decision highlights Dangel’s commitment to respecting the broader themes of the film while avoiding artistic shortcuts that might oversimplify complex narratives. His approach to September 5 exemplifies how film music can navigate sensitive topics with nuance and integrity, maintaining universal empathy without relying on overt cultural markers.
Composing the Soul of Dying
As the conversation shifted, I directed the discussion toward Lorenz Dangel’s collaboration with director Matthias Glasner on Dying. In this project, Dangel’s role extended beyond simply scoring the film; he composed the central piece around which the entire story revolves. I was curious about how his partnership with Glasner influenced the creative process:
– Working with Matthias Glasner was an incredibly intense and rewarding experience. He has such a clear vision for his films, and music plays a central role in his storytelling. From the very beginning, we had long discussions about Bernard Drinda, the composer in the film. What drives him, what is he trying to express in his music, and why is he struggeling in life. These aspects very much influenced me while writing «his» music.
– What stood out for me in Dying was the way Matthias allowed music to lead certain scenes, he continued, It’s rare to earn that kind of trust as a composer. We focused on themes of mortality and the fragility of family relationships, and the score had to reflect those deep emotional undertones. Music – especially in this context – is so personal and it took us a while to «find the right tone», to create a music that is so deeply intertwined with the characters in the film. And then, suddenly, at some point we realized that the music had become a character on its own.
Lorenz Dangel is a composer who seamlessly adapts his work to align with a director’s vision, while exploring innovative ways for music to engage with and enhance the narrative structure of a film. His collaboration with Matthias Glasner on Dying highlights his ability to push the boundaries of traditional film scoring, creating compositions that resonate deeply with both the story and its audience.
When asked about the biggest challenges of composing for Dying, Lorenz Dangel described it as both a challenge and a profound joy:
– I could just write orchestral music, which is then used in a film, he explained. There are two things I really thank Matthias Glasner for. First, he insisted that we use only this music in the film. Dying is three hours long, with about 25 minutes of music, and he didn’t want any other score or traditional film music — just the compositions I created.
Dangel highlighted another unique aspect of their collaboration:
– At a very early stage, he said, I want to record the music on set. So, we brought the orchestra in front of the camera and recorded all the music live on set, simultaneously with the scenes being filmed. It was an enormous effort, both financially and logistically, with studios, microphones, and everything else involved, but it created a unique authenticity. What you hear in the film is exactly what was recorded on set, not a studio production.
This innovative approach, combining orchestral music with live set recordings, reflects Glasner’s dedication to cinematic authenticity and Dangel’s ability to adapt to ambitious creative visions.
Is Music the Secret Weapon of Cinema?
As the conversation deepened, I asked Lorenz Dangel to reflect on how music interacts with film: Is it a subordinate element or an equal partner to the visuals? Additionally, I wanted to explore whether music could carry an ideological role beyond its aesthetic function and how it shapes character narratives. Dangel began by highlighting the unique nature of music in film:
– We have to understand that using music in a film is always a decision—it’s a tool. Music is not inherently necessary for a film. You need a camera, actors, and other elements, but you can make a movie without music and there are great examples in film history. The choice to include music depends entirely on what the film needs. In more mainstream films, music often emphasizes emotions, almost telling the audience what they should feel. That approach can be effective, but it becomes truly interesting when music contrasts with the visuals.
He illustrated this with an example from September 5: –There’s a scene where helicopters land to pick up the hostages and terrorists — a busy, chaotic moment. The music initially pushes the energy with percussion and rhythm. But when the hostages and terrorists step out of the bus, the music shifts dramatically to a quiet, mournful tone. It opens a space, creating contrast with the busy visuals. This is where music can hold its breath and allow for something more profound to emerge.
When discussing the broader narrative role of music, Dangel emphasizes its emotional and structural impact:
– Music guides emotions, tempo, and even the perception of time in storytelling. If you watch a film without music, it can feel disjointed or empty. Adding music can clarify what the audience feels or how they interpret a scene. But it’s not about making the music the star—it’s about supporting the film’s story.
Why Talk About Film Music
Toward the end of our conversation, I asked why it’s important to discuss film music, especially for those who may not analyze it academically but come to the cinema for the experience. Dangel responded thoughtfully: Music in films often works on a subconscious level. You don’t need a musical education to react to it — it’s intuitive and emotional. But when we talk about it, we become more aware of its possibilities. For instance, understanding how music shapes tempo or mood can deepen one’s appreciation of a film.
He concluded with a compelling insight:
– The best way to understand the role of music in film is to watch a scene without it and then add the music back. You’ll immediately feel how it transforms the narrative and emotional depth. Music is a crucial part of storytelling when it’s used, even though it isn’t always necessary. Its presence — or absence — makes all the difference.
This thoughtful perspective underscores why film music deserves more attention, both within the industry and among audiences. As Lorenz Dangel’s insights reveal, music is not just an accompaniment but a powerful narrative force that shapes how we experience cinema.